How to setup a Matte Painting in Nuke

Oh everyone welcome to another edition of Hugo's desk this week you just have to be better at setting up correctly map paintings inside of new the map painting we're going to use today is going to be a matte painting from Burma from the rival kingdoms cinematic trailer that we did at fired up smoke a few years ago I am going to show you how to pick up the Photoshop matte painting and correctly set it up in the 3d system a lot of times there's a lot of problems when setting up a matte painting for you to do projection and often what happens is that the field of view doesn't synchronize with the actual matte painting so I'm going to show you how to easily use some of the options on Z to actually set up all the layers correctly and so that you can have a really great starting point to do a full projection setup we're not going to do the projection setup today because this is a really short video it's only to teach you how to set it up in z space before we even start and just going to give you a little notion that the matte paintings in Photoshop need to be a bit more simplified so this is the original math painting as you can see we have a substantial amount of effects per layer and we have a substantial amount of layers that are not raised to write my recommendation will always be to try to racer eyes these layers and try to simplify and name your layers before you're going to new with this in mind let's go in and jump into nuke and see how we can set this up now with the matte painting instead of nuke there's no mystery here this is the matte painting with all the layers you can see the layers here on the viewer and if I open up the red node there is this option called break out layers and that option which is just over here I'm going to click on that button and as you can see immediately we get a rebuild of the actual matte painting from Photoshop of course very often this rebuild does not match so you can see here you have this is the original and that is the results and they are not matching also they're not matching and also the bounding box went a bit crazy this is very normal very typical because a lot of times the premultiplication in the Alpha channels don't get read the same way inside of new but this is not a problem because we're going to do 3d system so I'm actually going to go ahead and delete all these crop nodes and all these Photoshop virginals second thing I'm going to do is I'm going to put a free molt per layer so we can promote apply by its own alpha and I'm going to put a now notice that I have to lace the crop when I have the Primo selected so that the crop picks up the resolution from the incoming primo and then I'm going to copy place this on every single layer that we have here once this is all copy paste you can now see that I have every single layer with its Alpha Channel and with the correct crop as well now the last layer which is the fog layer I'm actually going to delete because I don't need it now normally if you would do this math painting in 3d let's resemble imagine that we want to do a projection system with some maybe some Hills some geometry you would set up this in cards first so that you can start setting up the projection and that is true we can actually do that and I'm going to actually bring in a seam bring in a scanline renderer bring in a camera and I'm going to hook up the camera to the scene and also like that and now I am going to put one card on each of the layers now I'm going to place them also have cards on everything a little trick here I'm actually going to select them all and I'm going to hit the scene and that will hook up every single card into the same scene so I can delete this old card and there you go now we have is if I jump into the tree system we are literally going to have all the matte paintings living in the same axis as the actual camera now this is no big deal and because we can of course do as we always do so if we go into the sky which is the last layer and normally what you would do is you would open up that card and then you would manually move the cards up and then you would select the other cards and then you would also also manually move it out as well and then you would select the other card and then move that out as well and it's like the other card and one by one I'm just going to do all these and then I'll come back normally this would be one way of setting it up you now have a 3d system they're all liars up layer by layer and of course now you would adjust now the problem is that now as I look at through the cameras perspective you can see that all my layers are not scaled correctly and that means that now we would have to manually go in here and actually go in here to the sky and then start scaling the sky up so that the sky would fit inside my bounding box and as you can see it doesn't really fit I have to kind of manually make it work and I would have to go into the other card and actually start scaling that card as well so that I would have the cards on the back also scaled up so you see that manually we would have to kind of figure out kind of by eye all the layers okay so after I scale everything now if you go into the 3d system and actually look at hit this so this is now starting to look a bit better I have the sky which is bigger and then the hills on the on the back or also get bigger so I progressively made all the cards you know smaller and smaller as they go into the camera now this is done because I want to make sure the camera is viewing matte matte painting through the perspective of the field of view and as you can see if you look from the top what I'm trying to do essentially is to trying to match the limits of my field of view of my camera into the actual limits of my math painting now there must be a better way to do this right that's what you might think and actually there is there is a much better way of doing this and there is like an automated way to do this and so I'm going to show you that really quickly 12 copies base this I'm going to ignore for the moment the other 3d system that we've made now here is a little trick that I wanted to show you whenever you do a matte painting or even if you're projecting your photo you in this case of course I don't know which lens it was used because this is a full custom map painting but if you had access to which lens you've used when ever making the camera it would be always good for you to actually put the correct lens that means that on the projection setup this means that you know let's imagine we took a photo with a 24 mil I would put a 24 millimeter here and of course the horizontal aperture in this vertical aperture would depend on the actual size of the camera it depends on the center of the camera now if you want to know the actual sensor of the camera there's a couple of ways of doing it you can either do go in research online but the other way that you can do it as well is if you go into the camera tracker in the tweeny system there is if you see here focal length and if you put film back plates which is this option here you see that we have all the film back plates of all the known cameras so let's say that we shot this photo with a 5 V then we could say ok this was shot with a 5 V Mack - okay so that means that my backplate is a 36 by 24 if I would have shot it with an actual Alexa then the backplate would be 23 by 14 and so on so let's for example for a moment assume that this backplate is a 5d so it's 46 by 24 that means that my horizontal aperture should be 46 and my vertical aperture should be 24 and so now that is my new backplate of the sensor that means that V corresponds to the actual sensor of the 5d if I go to the TV system if you look at the camera just going to zoom in really close to the camera we see that that is actually the actual sensor which is this area here that is actually the sensor that you see growing here that is this vertical and horizontal aperture of my sensor so this of course means that whatever photo you're trying to project in the 3d system you should make sure that your sensor size is the same sensor size as the actual camera new of course in this today on our map painting there's no real photo because this is just a smooth made-up map painting I can make some assumptions of course like so if I look at it it kind of looks like it's a wide camera I mean I would assume this is at least a 35 mil or maybe even the 24 I'm going to assume it's at 35 with a full sensor of a 5d so that means you'll see why this is important in a minute but even if you're not doing a math painting should always try to make to match the sensor size to your camera now here's what I want to show you if I put a card you see a card in 3d has these kind of weird options here which is the lens and focus and the aperture now you might be thinking what why is that there because the card is not a camera why why would it be there now this is here so that you can set up all the map paintings in z space and so the only thing you need to do is actually just find out I'm just going to open up the camera so we know that the focal length is 45 so that means that we can put 45 on the focal length of the card and then the lens aperture with an H that means is the Ora's on tool aperture which means it's 46 so that means that this is a 46 of aperture so that is how we set up that card now I'm going to place that card on a 3d system on a scene and I'm going to just go ahead and go into the 3d system and so now you're thinking well nothing is changed the only thing is changed now is that my card is actually living in the same place of the camera now that we've set up in connected both to the camera's focal linked with the cards focal length and the cards horizontal aperture with the actual cameras or rosante lapper chur that means that now if I go into my Z option which is this in here on the card I can actually move my card in z space you see if I go up and this is the focal view of my camera so this is the actual 35 mil as I move in Z it actually moves inside the focal length of my 3d system that means that I don't have to figure out the actual scaling of my card because the scaling gets done automatically as I move it further away from my actual camera and if I view it to my cameras perspective you can see that it's always locked to my horizontal in vertical now the only thing I do need to do is as you can see my camera settings or set my system settings are not set to the correct resolution I'm going to select the same resolution from my math painting which in this case is 2 and 1/2 scape and that should give me now a full representation 1 2 1 and so now you can see that my card is actually matching the actual focal of my camera and that's how I'm viewing my camera so even if I change this on my Z here nothing changes in my viewer now of course if I go above and you look through here it does change because it gets closer to the camera so now that I have set this up the only thing I need to do is now make cards for every single one of them this car don't forget you want to copy place the card that has the actual settings I'm going to put my z2 1 which is the default to 0 sorry to default and then I'm going to put my card into the salt and I'm going to keep it with the same settings with your Asansol aperture and focal and I'm going to paste it all around this entire math paint I'm actually going to select all my cards and I'm going to press the scene and that will connect all of them what we have is as before but now the difference is that now to set up this let's imagine for a moment that this area is one kilometer that means that let's look at this it says a hundred and now let's say a thousand so you see that my grid is saying one thousand and so now I'm going to put my sky one kilometer away and that means that I'm going to start putting it actually much further away I'm actually going to put it to a thousand so the Z is linked with the actual grid so you see my grid is set to 1000 and my card that is on Z on one thousand matches the actual 1000 of my grip and I'm just going to start doing the other one so let's say I'm going to do it a bit arbitrary early for the moment but let's say we put the hills on nine hundred and then we put the other hills on eight hundred let's work our way into the cards let's put this one to seven hundred of course this needs to be adjusted later on but for the moment I'm just going to do it a bit randomly and then we can move from there twelve and a half and don't forget the nuke is the world's biggest later so if I actually put twelve and a half and I put divided by 2 it gives me six point twenty five so now that that's done so now you can see that my map painting is all correctly set up with the distance and if I look at through the cameras perspective my math painting is now matching 100% the 2d math painting to see if I view the actual 3d map painting so that's now the 2d map painting which is the original which has the fog effect then we have the 3d map painting which is in 3d system and if I jump into 3d you see they all match and this is really crucial because whenever you do a map painting of course this means that you want to start as correct as possible that means you're starting you're not painting in the actual correct focal length and now we can actually jump in the 3d system and now we create my entire map painting this means that now that I have this all set up like this we can now start putting cards we could start putting actual geometry frizzle for the mountains we can start actually correctly putting all the geometry to actually project this instead of guests working the other thing as well is that if you actually know the scaling of your map painting if for example we knew for a fact that this first Hill was ten meters away from the camera we could literally use the grid on the Trinity system to put it exactly at ten meters away if we knew that the big big hill there was one kilometer away we could put it exactly at one kilometer in the grid so that's pretty much it for them to me today I just wanted to show you this little trick using the focal setup in Z setup on the cards to actually automatically layer the matte paintings as opposed to doing it by hand like I showed you before on the matte painting before we go I really wanted to thank all my supporters in patreon and because they are supporting me with one dollar or more I am going to read their names of course keep in mind that I'm probably going to butcher their names because I am Portuguese can have a really bad accent but I'm going to try my best so apologize if I read your name incorrectly so I would like to thank freedo Picardo sekai de pavo vici morton hull justin grows desire min ping wong koi hos jan gender nikolai valencia car wisconsin song allan Durkin Louisville Jones she's a nurse key to human 1/v I am really sorry if I did everything wrong here I am just trying to read your names so thank you all so much for all the support you giving me to my channel as always I hope you've enjoyed this tutorial please follow you go desk in Twitter and Facebook also follow me you go see Guerra and Twitter and of course supporters in patreon the more support I get the more tutorials I can do as you know I'm a very busy man and I have a full-time job as a director so a lot of times not possibly for me to do tutorials because of that thank you so much for watching I see you very soon you [Music]

Channel: Hugo's Desk

Views: 58,681

Rating: 4.9691458 out of 5

Keywords: Gaming, Tutorial, Training, Compositing, Nuke, Hugo Guerra, After Effects, The Foundry, 3D, 2D, CGI, CG, Matte Painting, Hugo's Desk, MPC, Framestore, The Mill, 4K

Id: feANAsdahRk

Length: 15min 32sec (932 seconds)

Published: Sun Mar 12 2017